CriticalDance Forum

A very entertaining description of actress Lisa Kron working with the Susan Marshall Company. It's from the Sunday edition, so with luck it will exist for a week. NOTE - this link is now deceased.<BR> <A HREF="http://www.nytimes.com/yr/mo/day/artleisure/marshall-dance.html" TARGET=_blank>http://www.nytimes.com/yr/mo/day/artleisure/marshall-dance.html</A> <p>[This message has been edited by Stuart Sweeney (edited 01-23-2000).]

Thanks.

That was a fun read! The performance must have really been something, eh? I have first-person experience performing as a 'sort of' dancer. I could relate to so much of what she had written. I learned and have such an appreciation of dancers and their craft after touring w/a company for awhile. <P>Remember Mark Morris' first Nutcracker? LOL! God it was hilarious with the 'sort of' dancers and dancers performing in what might be THE WIERDEST set of costumes i've ever seen. For some reason, a guy dressed up as a french maid in toe-shoes comes to mind.<p>[This message has been edited by Stuart Sweeney (edited February 16, 2002).]

Princess TamTam,<P>Morris's first Nutcracker? As opposed to his Hardnut? Can you describe it for me? I'm wondering how it compares to Hardnut.

Azlan,<BR>I believe they are one in the same.

Princess Tam-Tam, yes, The Hardnut had a guy dressed as a French maid. It was hilarious and I loved it. But the funny thing is there isn't really much of what I would consider "dancing" in the Hardnut. There was more mime and acting.

<B>Essential Gestures</B> <BR>Lisa Traiger previews Susan Marshall's 'One and only You' in The Washington Post.<P><BR>WHEN choreographer Susan Marshall combines the intense physicality of modern and postmodern dance with the familiarity of everyday shrugs, nods and hand gestures, the result is at once intimate, intriguing and altogether accessible. And that's Marshall's point. <P>"Gesture is always a language we understand," she pointed out last week, the day her newest work, "One and Only You," premiered in Pittsburgh. "When we're with people in a room and several conversations are going on, often the words get lost so we're getting lots of our information through those gestures," Marshall says. The evening-length dance-theater work comes to the Clarice Smith Performing Arts Center tonight.<P><A HREF="http://www.washingtonpost.com/wp-dyn/articles/A24109-2001Nov1.html" TARGET=_blank><B>click for more</B></A>

<B>Creative Writhing: The Power of Pulp</B> <BR>By Sarah Kaufman in The Washington Post <P><BR>The inner world of a writer seems like odd territory for a dance -- just how dynamic can you make those long, tortured episodes of staring into space? But choreographer Susan Marshall has always had a taste for the unpopular. (She was last seen here in 1999 with "The Descent Beckons," a brutal end-of-the-millennium work involving dozens of naked rubber blow-up dolls.) Marshall's newest work, which her company performed over the weekend at the University of Maryland's Clarice Smith Performing Arts Center (in a presentation with the Washington Performing Arts Society), doesn't have that kind of naughty edge: "One and Only You" centers on a novelist, in this case a Dashiell Hammett wannabe struggling to reconcile imagination and reality.<P><A HREF="http://www.washingtonpost.com/wp-dyn/articles/A39957-2001Nov4.html" TARGET=_blank><B>click for more</B></A>

Catherine Thomas - The Oregonian, 01.12.02:<BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>'One and Only You' </B><P>"One and Only You" is driven by Marshall's crisp, physically exaggerated choreography and a brilliant cinematic sound score by Liminal that waxes between claustrophobic static and a subterranean drum-and-bass groove. Marshall's husband, Christopher Renino, wrote the text, a nimble and often hilarious script that spins banal couples lingo and pulp fiction one-liners with equal finesse.<HR></BLOCKQUOTE><B>more...</B><BR>

<P>And another Critical Dance topic on Susan Marshall:<P><A HREF=../../../ubb/Forum5/HTML/000043.html><B>new Susan Marshall piece</B></A> <BR>

Theodore Bale writes in the Boston Herald:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Marshall is also attracted to virtuosity (she cites William Forsythe's highly charged choreography as a major influence), though she did describe her ``One and Only You'' as quite narrative. The work contains a humorous and intricate scenario, with spoken dialogue, that was developed in collaboration with New York writer Christopher Renino.<HR></BLOCKQUOTE><P><a href=http://www2.bostonherald.com/entertainment/arts_culture/danc02012002.htm target=_blank>More</a>

Originally posted by Basheva on 02-03-2002 06:50 AM<P>From the Boston Globe:<P><B>Petronio and Marshall's happy returns<P>Dance troupes bring romance, noir to Boston</B><P>By Christine Temin, Globe Staff, 2/3/2002<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Stephen Petronio last appeared in Boston in 1988, at Northeastern University, in a performance that generated rapturous reviews. <P><BR>Susan Marshall last appeared here in 1991, at the Emerson Majestic Theatre, to comparable critical acclaim. <P>Both these New York-based choreographers now in their 40s have since performed with their companies all across the United States and Europe, in major festivals and prestigious venues, with high-profile collaborators including Philip Glass (Marshall) and Cindy Sherman (Petronio.)<HR></BLOCKQUOTE><P><A HREF="http://www.boston.com/dailyglobe2/034/living/Petronio_and_Marshall_s_happy_returns+.shtml" TARGET=_blank><B>MORE...</B></A><BR>

From the Boston Globe:<P><B>It's no mystery why this dance succeeds</B><P><BR>By Christine Temin, Globe Staff, 2/9/2002<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>In ''One and Only You,'' choreographer Susan Marshall makes the tale of a frustrated detective novelist, a member of a solitary, sedentary profession you wouldn't normally think eligible for choreographic treatment, into a lively romp that is both tongue-in-cheek and poignant. <P><BR>She's actually got two stories going. One is about the writer's struggle; the other is his detective story itself. Mark DeChiazza delivers a tour-de-force performance as both the writer, Jack, and his protagonist and occasional antagonist, Hudson. DeChiazza makes the transition from one to the other without missing a beat, the shift signaled only by a minor change in costume accessory, yet it's completely clear who he is when. Clarity of plot and character marks the entire production, in fact.<HR></BLOCKQUOTE><P><A HREF="http://www.boston.com/dailyglobe2/040/living/It_s_no_mystery_why_this_dance_succeeds+.shtml" TARGET=_blank><B>MORE...</B></A><BR>

Marcia B. Siegel - Boston Phoenix, February 14-21, 2002:<BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>Strange attractions</B><P>SUSAN MARSHALL’S ONE AND ONLY YOU begins like a pulpy thriller. Each scene is riveting, ripe with clues, but in the end we don’t know anything more than we did at the beginning.<HR></BLOCKQUOTE><B>more...</B><BR>(Scroll down page for review)<BR>

Ah...Marcia Siegel, the dean of American dance critics, (in my humble opinion)is among us!!!! I love the way she so skillfully describes movement...she actually creates a visual picture in your mind as you're reading; not that many critics have the ability to do that, especially not with modern dance, and not with her ability to make each piece seem so unique.<p>[This message has been edited by trina (edited February 15, 2002).]